Oct 9, 2012 11:30am PDT
into portraits of a gas lit world fuelled by restless energy. he could use his very fluent draftsmanship to give a sense of the most immediate, the most spontaneous recording and projecting of something seen in the modern world. that economy also spreads to the devices he uses, which bring the spectator of his works into the game. "i recognize that. i know that that's very up to date. i understand it. i am modern like the artist." and it's that interplay that he generates between the spectator and his audience that is very, very modern. (narrator) the painter of montmartre's decadence had an aristocratic start. born in 1864, henri raymond de toulouse-lautrec came from a noble and distinguished family-- count raymond of toulouse had helped capture jerusalem in the first crusade. henri's branch of the family came from the red-brick city of albi in the south of france. henri grew up in a world of chateaus and privilege in a family living on the fruits of its noble past. but a france governed by the middle class was losing its taste for nobility. like many aristocrats, his fath
Oct 1, 2012 7:30pm PDT
, trying to see did we really have them level, because they seem to move and generate an energy of their own. and that comes from the bright colors and the unusual juxtapositions of these wild primary colors thrown right up against each other. to me, they're the visual equivalent of jazz. we see a lot of improvisation here. they're going in all different directions, but they make sense as a whole. it's just like jazz. there's a coherency and a consistency within the wildness. that's not to say there's not a lot of thought behind it. i think that people can make a real mistake at thinking what she's doing is random and haphazard. there's a random quality to it, but she thinks a lot about the relationships, even between little bits and pieces as they work together. but she's definitely thinking about the overall composition. [ metal clatters ] buchanan: when i started looking at this piece to start working on it some more, i was not happy with it. i was not happy at all with it. what made me not happy was the shape of the roof. i took a hammer, just kind of gave it a rampf -- rhaaaa!